Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Bahrain and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Sao Paulo.
I'm losing my edge to the art-school Houston kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Detroit Cobras to the punk kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Tropical Tobacco. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
D'Angelo,
KRS-One,
Steve Hackett,
Delta 5,
R.M.O.,
Bobby Sherman,
Kerrie Biddell,
Rites of Spring,
Don Cherry,
Skaos,
Goldenarms,
Darondo,
Crispy Ambulance,
The Smoke,
the Fania All-Stars,
The Skatalites,
Isaac Hayes,
The Tremeloes,
Aswad,
The Vogues,
The Grass Roots,
Orchestral Manoeuvres in the Dark,
Moby Grape,
The Invisible,
Cybotron,
Animal Collective,
Rotary Connection,
Suicide,
Gang of Four,
The Gladiators,
Mantronix,
The Dirtbombs,
Tom Boy,
The Cure,
Monolake,
The Gun Club,
Radio Birdman,
The Black Dice,
The Gap Band,
Lyres,
Godley & Creme,
Lungfish,
The Modern Lovers,
Marmalade,
Audionom,
Johnny Osbourne,
Avey Tare & Kría Brekkan,
Justin Hinds & The Dominoes,
MC5,
The Zeros,
Suburban Knight,
Rahsaan Roland Kirk,
Marshall Jefferson,
The Slits,
Procol Harum,
Kango’s Stein Massive,
Henry Cow,
Joyce Sims,
Graham Central Station,
Mad Mike,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.